In 2009 the editorial team at Mute (in association with Autonomedia) published a collection of past magazine content under the title Proud to be Flesh: A Mute Magazine Anthology of Cultural Politics after the Net. It was an exercise in content curation, but not, as they point out, an attempt to assemble a greatest hits album. Rather, it reorganises a body of Mute’s diverse output around a selection of themes that are perhaps more apparent (up to) fifteen years later.

In many respects - through the early newspapers, magazines, websites and recent print-on-demand journals - Mute has long engaged in providing content navigation systems for internet-inspired knowledge and the darker side thereof. And they have been doing so in an era defined by its obsession with charting and re-charting the information landscape. What Proud to be Flesh does, therefore, is offer up yet another entry portal to Mute’s rich and important net-knowledge while, in its very book-i-ness, commenting on the current upheaval in text interface products.

A large installation in the Grand Entrance of London’s Victoria and Albert Museum clatters away, registering its presence in this historic hallway. Jointly commissioned (by the V & A and SAP), bit.code (2009), by Julius Popp, consists of a large panel of black and white blocks which appear to represent a curious, indecipherable code as they rotate around their frame. Periodically its units align, clearly depicting popular terms streamed live from news site feeds. In this physical form and location, this is real-time made somehow more timely. Looming over visitors, a literal staging of data being decoded, the work asserts itself as an apt entry portal to "Decode", the V & A's inaugural exhibition of contemporary digital and interactive design.

May be I should bring a (special street) portable food trolly with as well,and various coffee nuts...

Will do Dyske...

Do you reside in NY?

marc

> > No probz - for those who are unhappy about the date of 25th regarding> > chalking and would rather sit down for a chat over a coffee and creambun> > instead - I should mention that we are in NY from the 20th - 27th> > of April.> >> > We are keen in making constructive contacts to 'fill' the chasm between> > creative types...>> Marc,>> Keep me posted. I'm not a big fan of doing anything physical, but I like> coffee and cream bun and such.>> Dyske>>> + ti esrever dna ti pilf nwod gniht ym tup> -> post: list@rhizome.org> -> questions: info@rhizome.org> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz> -> give: http://rhizome.org/support> +> Subscribers to Rhizome are subject to the terms set out in the> Membership Agreement available online at http://rhizome.org/info/29.php>>

> was tortured and killed by a third party?>'Full fathom five thy father lies>Of his bones are coral made>These are pearls that were his eyes.>Nothing of him that does fade,>but does suffer a sea change>Into something rich and strange.>Sea nymphs hourly ring his knell,>Hark, now I hear them, ding, dong, bell.'

>Cheers,>Ivan

Full Fathom Five

Old man, you surface seldom.Then you come in with the tide's coming When seas wash cold, foam-

> I am still wondering why GMTV (UK morning TV show) thought it soimportant> to show us the marquetry/parquetry and gold taps of one of Saddams palaces> this morning.>> I am attempting a reworking of some past ideas on Walter Benjamin at the> moment, aesthetics of fascism etc etc and can't help wondering if that was> somehow their point.>> Beware the gold taps of a tyrant.....???>> Wonder what taps George W Bush has................???>>>> Charlotte>> Fighting for peace> is like f*cking for virginity!>> + ti esrever dna ti pilf nwod gniht ym tup> -> post: list@rhizome.org> -> questions: info@rhizome.org> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz> -> give: http://rhizome.org/support> +> Subscribers to Rhizome are subject to the terms set out in the> Membership Agreement available online at http://rhizome.org/info/29.php>